AARON CURRY MIGHT BE THE FIRST ARTIST who readily cops to being influenced by Long John Silver’s, the fast-food fish-and-chips chain named after Treasure Island’s peg-legged pirate. The ropes that thread through and dangle from Curry’s biomorphic sculptures pay sly homage to the signature decorative motif of that nautically inflected restaurant, which the artist frequented when he was growing up in San Antonio. In Fragments from a Collective Unity (Reclining), 2006, a network of ropes is drawn through the orifice-like voids in an “abstract” figure. Vaguely human, seemingly hermaphroditic, and nodding quite overtly to the historical avant-garde’s partiality to “the primitive,” the reclining figure is composed of sinuous, flat plywood shapes painted black, assembled and situated on a pedestal made from a resin-coated poster for Disney’s 2006 remake of its 1959 romp The Shaggy Dog.
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